The History of Yamaha Acoustic Guitars: “LEGEND HISTORY”

First, let me introduce the instrument that marked the beginning of the legend.
The FG-180 was produced between 1966 and 1972, and when speaking with members of the folk generation, it is not uncommon for the FG-180 to be recognized as the "Red Label."
This particular instrument is a "Light Green Label" model, produced for only a little over a year between 1966 and 1967.
Since this particular guitar was manufactured in 1967, both the top and back were updated to plywood.

From the perspective of a young person like myself, the impression left by Atsuharu Iwasawa of the band "Yuzu" is particularly strong.
Unfortunately, I haven’t been able to confirm footage of him using it, but his description of it as having a “crazy resonance” is a sentiment shared by quite a few people regarding the FG-180.

So, how does this particular guitar sound?
I was the one who handled the purchase, and I heard its first notes using the settings the previous owner had set up.

One strum in Em, including open strings—it’s “super loud.”

It lacks refinement, but it possesses a sound pressure and sense of openness that even modern solid-top models can’t match.
Even if I try to vary the volume, the playing techniques that worked well on other guitars don’t work on this one, so expressing dynamics seems like it’s going to be quite a challenge.
However, the body resonance and sheer physical pleasure you feel when strumming chords hard are hard to find anywhere else.
You can enjoy both the thrill of taming this wild child and the joy of letting it run free and adapting yourself to the guitar.
I find myself smiling as I play, and before I know it, over an hour has passed since I started. It’s packed with that kind of charm.

There is no doubt that the development of Japan’s acoustic guitar culture is largely due to the presence of this “one person.”
During his time at Yamaha, he designed and developed the APX, CWE, and L series.
The guitars he creates, regardless of the era, are composed of three elements: the excitement of something "new," outstanding "artistry," and "perfection" as an instrument.
The "works" he was involved with during his time at Yamaha bear his handwritten signature on the label, and the mere presence of that signature lends the guitar a sense of authenticity.

After leaving Yamaha, he launched his own brand, "Terry’s Terry,"
(Titles omitted) Takahiko Ishikawa, Yosui Inoue, Toshio Kadomatsu, Kazuyoshi Saito, Konosuke Sakazaki, Ken Sakurai, Masashi Sada, Tsuyoshi Nagabuchi, Chiharu Matsuyama, Kosetsu Minami, Shozo Ise, Takuro Yoshida, and other illustrious figures have used his guitars to add color to Japanese music.
Terry Nakamoto’s guitars are not endorsed by any major labels, and he receives almost no media exposure. Yet, drawn to the quality and charm of his instruments, many musicians have chosen to play his guitars.

I, too, have been captivated and enthralled by the "Terry Nakamoto" world, so much so that I ordered a TJ-100.
In the next chapter, I hope you’ll take a look at the world of “Terry Nakamoto.”

Now, as mentioned earlier, in 1971, "YAMAHA" entered a new era.
In that same year, when the FG’s popularity was firmly established, Yamaha announced a lineup of “high-end handmade FG” models
Three models—the FG-1500, FG-2000, and FG-2500 (12-string)—were released, ultimately putting Yamaha Acoustic on the global map.
In particular, the FG-1500 holds special significance due to an episode described later.

The FG-1500 features Yamaha’s original compact folk-sized body with a slightly slimmer profile;with a body width of approximately 380 mm and a body depth of about 105 mm, it gives the impression of being close to a Martin 000 size.
The common specifications for all three models include a top made of high-grade Ezo spruce, sides and back made of solid rosewood and three-piece flamed maple,respectively—all solid wood. Furthermore,the rosette and trim feature "inlay," a highly sophisticated technique that combines different woods to create intricate patterns. Inside the soundhole is the handwritten signature of "Terry Nakamoto," as described in the previous chapter.

So, why does this FG-1500 hold such special significance?First, during its brief production run from 1971 to 1975, while the high-end handmade FG series appeared in catalogs, it was nearly impossible to actually see one in a store.

It was a situation where people would say, “Yamaha made an amazing guitar! But I don’t know what it sounds like…”This series was such a phantom-like existence, but its sound and the actual instrument became known to the world through its use by a certain artist.

By the 1980s, as information about overseas artists became readily available in Japan, news spread worldwide that Bob Dylan—a figure etched into American music history—had used a Yamaha guitar in his live performances.
Footage from his 1986 concert in Australia shows Bob Dylan playing an FG-1500 alongside his supporting act, Tom Petty.
This event led to YAMAHA Acoustic gaining a new reputation, both domestically and internationally, as a brand with a level of originality rivaling Martin and Gibson.
Yamaha itself seemed to recognize the "special significance" of this moment, and in 1996, it reissued the "FG-1500" in a limited run of 30 units, which became a major talking point.

So, what does this 1974 model sound like?
First, just like with the FG-180, I’ll play a single chord in E minor, which includes many open strings.To be honest, it feels a bit lacking.
This is likely because the FG-180 was so far ahead in terms of openness and sound pressure.As I continued playing for 5 minutes... then 10 minutes, I began to understand something about this model and this particular instrument.
This is just speculation, but perhaps this is a model that embodies the idea of being both an FG and not an FG?
In terms of frequency response, while other FG models have explosive lows and highs, the "1500" has a relatively higher midrange component.
What makes this excellent is that it’s well-suited for solo guitar and melodic roles. It has a solid core, and the allure of the Brazilian rosewood is reflected in the sound, making it quite hard to replace with anything else.I’m very curious to see what characteristics other individual instruments in this series possess.

Now, next up is another 1974 model.
Actually, even among the high-end handmade FG models, there are slight specification changes between the very earliest 1971 models and those produced later. The 1971 specifications featured a flared headstock shape, similar to the Red Label FG, and the bridge also had the same shape as the Red Label.
This particular model in our inventory follows the later specifications, featuring a slimmer headstock shape and a contoured bridge.It boasts an original jumbo body with a width of approximately 416 mm and a depth of 127 mm.

When it comes to notable artists who used this model, James Taylor comes to mind.You can hear its sound on his 1974 album, *Walking Man*.

So, how does this particular guitar sound?Its body is a size larger than the FG-180, and when you hold it, it instills a sense of anticipation and historical significance.

First, let’s play an E minor chord.
"Ah, it's an FG."

That was my first impression, as mentioned above. However, it doesn’t feel like a wild beast.It has an open, spacious sound and good volume, while also delivering rich bass and a well-rounded tone.
Similarly, after playing for about 5 to 10 minutes, I sense a character completely different from the FG-1500.Of course, this is to be expected given the different body shapes, but it’s also wonderful that, despite its large body size, there’s no sense of congestion caused by sound amplification within the soundhole.
This might be thanks to the relatively hard Brazilian rosewood, but filtering out the excess and bringing out only the best isn’t something the wood alone can achieve—it’s likely due to the guitar’s excellent design. If you want to sing and play without a microphone, you’ll need to know a few tricks.I tried playing and singing when I was in the mood, but no matter how hard I tried, the guitar always overpowered myvoice.That sensation is perhaps similar to driving a ZEEP.

Here is an introduction to the final lineup of the high-end, handmade FG series.
Like the FG-2000, this model features the original jumbo body
and was introduced as a 12-string version of the FG-2000.However, this FG-2500 is a unique presence even among the high-end handmade FG models.
When I ask members of the folk music generation from that era, I often get reactions like, “Was there really a model like that? Was it even in the catalog?”Of course, compared to 6-string guitars, the demand for 12-string guitars was lower, so the production numbers themselves were likely small.
Its uniqueness also extends to its specifications: while all previous Yamaha 12-string models featured a solid headstock, the FG-2500 is equipped with a slotted headstock.

Let’s listen to the sound of the FG-2500, with its slightly unique features.
As is true of 12-string guitars in general, tuning is an extremely laborious task.With a 6-string guitar, it usually takes about three turns of the tuning pegs to go from a loose state to a playable state, but with a 12-string, it takes five to six turns. Moreover, since there are twice as many tuning pegs as a 6-string and they are positioned close together, they are difficult to turn, and each turn takes a long time.

Finally, after a grueling tuning session, I hit an Em chord.
This assessment isn’t because I’m writing a column or planning to sell it—it’s my sincere impression.

""""""The most wonderful 12-string guitar I’ve ever played""""""

The sense of openness and the core of each string that you can feel within it.What’s most noteworthy is that 12-string guitars typically have a wider neck than 6-string models, so you wouldn’t normally expect them to sound like a 6-string. Yet this particular instrument resonates just like a 6-string, with a natural chorus effect added to the mix.
The hassle of tuning is a trivial concern if it means achieving this sound.To be honest, compared to the 6-string model, its market value is lower. However, if you judge the price based on the sound, even paying 1 million yen wouldn’t be considered expensive.It’s a guitar that evokes such a sense of ecstasy.

From here on, the world of Terry Nakamoto becomes even more pronounced.
In 1974, Yamaha announced the lineup for its "L Series," which placed a stronger emphasis on luxury.
The first model released was the "L-31."
a model that elevated the FG-2000 to a new level of luxury, which led to the Custom series announced in 1975.
The "L" in the series name stands for "Luxury," and it comprises the highest-grade models among the three series—FG, N, and L—that were in the lineup at the time.

Now, the four models in the L Series introduced in 1975 were given the grandiose nickname "The Four Heavenly Kings." Each of these four models had a distinctive appearance and eye-catching design.
Just like the high-end handmade FG models, it was nearly impossible to see the actual instruments in physical stores, so younger enthusiasts likely let their imaginations run wild while looking at catalogs, wondering, “What kind of sound does it make? What kind of custom order should I place?”
Miraculously, I was able to acquire two models from among the Four Heavenly Kings, so I’d like to take this opportunity to introduce them.

A jet-black jumbo body reminiscent of Gibson’s Everly Brothers models.
The body width is approximately 435 mm, and the body depth is just under 120 mm, making it wider than the FG-2000.
If you look closely, the white pickguard is asymmetrical in size, giving it a unique design.
Paul Simon and John Lennon’s guitars were custom-ordered as the CJ-52—the successor to the L-52—from Bass, and it seems both were captivated by its sound.
Personally, among the "Four Heavenly Kings," the L-52’s look is exactly my style.

Since this model was favored by those two legends, let’s listen to its sound right away.

Similarly, a single Em chord
Interesting. It has that crisp, "ringing" tone characteristic of maple, while still clearly delivering that signature Yamaha body resonance.This characteristic is particularly evident when strumming the 1st and 2nd strings hard with an upstroke, producing a loud, resonant sound.
The feature I found most unique is that when playing single notes on the 3rd string from the 7th fret onward, you get a nuance reminiscent of an archtop guitar.
Rather than being geared toward folk songs, I’d say it’s better suited for jazz or blues with a solid 4/4 beat.
Considering the contrast with its appearance, this is one of my favorite models.

It’s flashy at first glance.
Of course, the abalone inlays on the rosette and trim are stunning, but your eyes will likely be drawn to the headstock first.The veneer consists of a three-piece abalone and rosewood design, but I was surprised to see that the fragile abalone was used on both sides of the peg bushings—I’m simply impressed by the creativity and craftsmanship.
There are differences in the wood specifications between early and late versions of this L-53; the three-piece back was originally rosewood/ebony, but was changed to all rosewood in later models.The body width is approximately 415 mm, and the body depth is approximately 120 mm, making it the body shape closest to a dreadnought within the L series.
It is the most popular model among the "Four Heavenly Kings," and many artists have commissioned this L-53 from Bass.
In 2012, a limited edition of 20 was reissued; although the price was around 2,000,000 yen, it sold out immediately. Given this context, it is clear that many people have a strong admiration for this model.

Before playing it, let’s imagine the sound based on its appearance.
It feels solidly heavy in the hand, weighing about 2.55 kg according to a scale. The fingerboard features abalone inlays, suggesting a crisp, ringing tone with minimal body resonance.

A quick strum in the familiar E minor chord

"That sound is huge!!!"
It’s a crude way to put it, but that was my first impression.However, it doesn’t sound harsh or tinny.
It adds a sparkling high end to the FG-2000, yet you can still clearly feel the unobtrusive low end characteristic of Brazilian rosewood.
I wouldn’t say it’s exactly the same, but I sensed a nuance similar to the 1968–1969 reissue D-45.
If you pick as hard as you can, the high end sounds a bit compressed, but it’s very easy to add dynamics when playing arpeggios, which should bring rich expression to ballads and folk songs.This guitar really convinced me why it’s the most popular model—it’s a great instrument in terms of sound.

This LS model, part of the L Series, features an original shape similar to the FG-1500 but is slightly smaller.
Compared to other LL/LD/LA models, the number of these in circulation is overwhelmingly small, making them extremely rare to encounter. From the rosette and purfling to the headstock and fingerboard, one can appreciate the intricate and beautiful craftsmanship. Its shape is closest to the “TJ,” a standard model in Terry’s Terry’s lineup, and it is arguably the model that most strongly conveys Terry Nakamoto’s artistic vision.

While this model was primarily available in the 1990s, this particular instrument was made in 1987.
Of course, it bears Terry Nakamoto’s handwritten signature.

Rather than describing it in words, you should experience the sound for yourself first.

As for the sound, you might be a bit surprised, as it differs from the typical image of Yamaha guitars from the 1960s to the early 1980s. While the volume is loud, the tone is very refined. It’s not that it lacks harmonics, but rather than the sharp impression of an L-53, it’s characterized by a “bell-like” ringing sound.
In particular, there is almost no muddiness when playing chords; for example, when playing an open G chord, the third note is the B on the 5th and 2nd strings, and if the harmonic structure is even slightly off, this area tends to sound muddy.
However, the LS-50 conveys a direct sound as if there were absolutely nothing superfluous.
While the absence of anything superfluous might feel lacking to some, it achieves a very high level of sound quality for a Japanese musical instrument.